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Trains That Passed in the Night University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 2000 Trains That Passed in the Night Thomas A. Garver Guest Curator, Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Garver, Thomas A., "Trains That Passed in the Night" (2000). Sheldon Museum of Art Catalogues and Publications. 78. https://digitalcommons.unl.edu/sheldonpubs/78 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Trains That Passed in the Night The Railroad Photographs of O. Winston Link AN EXfllBITION ORGANIZED BY SHELDON MEMORIAL ART GALLERY AND SCULPTURE GARDEN UNIVERSITY OF NEBRASKA-LINCOLN FOR TRAVEL THROUGHOUT THE UNITED STATES, 1998 -2000 Thomas H. Garver, Guest Curator January 7- March 22, 1998/ Sheldon Memorial Art Gallery, Lincoln Nebraska April 21- June 21, 1998/ Virginia Museum of Transportation, Roanoke, Virginia July 21- September 20,1998/ Virginia Historical Society, Richmond, Virginia October 20- December 20, 1998/ Huntington Museum of Art, Huntington, West Virginia January 12- March 14, 1999/ Art Museum of South Texas, Corpus Christi, Texas April 13- June 13, 1999/ Cincinnati Art Museum, Cincinnati, Ohio July 13- September 19, 1999/ Gibbes Museum of Art, Charleston, South Carolina October 15- November 26, 1999/ Cantor-Fitzgerald Gallery, Haverford, Pennsylvania January 11- March 12, 2000/ New York State Museum, Albany, New York April 18- June 18,2000/ Sordoni Art Gallery, Wilkes-Barre, Pennsylvania August 20- November 5, 2000 / Stanford Museum of Art, Stanford, California 000111000SHELDON MEMORIAL ART GALLERY & SCULPTURE GARDEN 12th and R Street University of Nebraska-Lincoln, 68588-0300 The Photographs of O. Winston Link inston Link was a young practitioner of an old photographic tradition, one still W much used, but which now commands little public notice. He developed a strong personal style within the technique of using cameras that were usually fixed in place, mounted on heavy tripods and using large negatives, typically 4 x 5 inches in size. The dynamic qualities of photographs made this way came through their careful planning: the precise placement of the camera, and equally careful placement of the lighting sources, with people and objects also being arranged with an eye for the final effect. Photographs using this technique were (and still are) made by the millions for advertising and illustrative purposes. While this manner of photography is still widely used, we have come more often to think of photographic "truth" through another aesthetic, one created by photographers using small hand held cameras. Sometimes described by the generic term "street photography," photographers who work in this way usually move rapidly and invisibly through their surroundings, making images using only the light available and leaving the environment untouched and unchanged. Not only did Winston Link use a different photographic technique, his motivations were different from street photographers. His interest, in all his work, was to create as precise and careful a record as possible of the scene being photographed. Using lessons he learned from his commercial advertising photography, Link had less interest in documenting life as he found it than in creating images of life as he (or his clients) might wish it to be. Thus in his railroad photos, Link built a record that not only documented the locomotives and trains themselves, but emphasized the benefits of the railroad to the life of the communities through which it passed. He was, in his way, preparing and executing an advertising cam­ paign for the "American Steam Railroad," and the good life in the United States which it supported. In many of his photographs, the passing train is incidental to the activity in the foreground, be it buying groceries, taking a swim or herding cows. Yet, even in the back­ ground, the steam railroad was still the essential element which stitched together Winston Link's personal vision of this good life in America. Sometimes the Electricity Fails, Vesuvius, Virginia, 1956 Checklist of the Exhibition Photographs are listed chronologically, with the negative index nwnber following the photo title. Most of the prints in the exhibition are black and white, gelatin silver photographs printed either 16x20 or 20x24 inches in size. Ten color coupler prints printed 16x20 inches are indicated by the designations "C" or "K" in the negative nwnbers. All the prints in the exhibition have been lent either by the photographer or Cheryl and Robert ZideJ; Portola Valley, California. The title for this exhibition is taken from a video program on o. Winston Link created and directed by Paul Yule, Berwick Universal Pictures, London, England, for presentation on British tele­ vision's Channel Four in 1990, and is used by permission. All photographs in the exhibition and reproduced here are © o. Winston Link, and are used by permission. 1. Station InteriOl; Waynesboro, Virginia, 1955 (NW3) 11. J. O. Hayden, Engine Greaser at Bluefield 2. J. W. Dahlhouse Polishes a Headlight, Shaffers Lubritorium, Bluefield, West Virginia, 1955 (NW330) Crossing Yard, Roanoke,Virginia, 1955 (NWS) 12. Y6 Locomotive Moving out of the Wash Bay, 3. Washing J Class Locomotive 605, Shaffers Crossing Bluefield Yard, Bluefield, West Virginia, 1955 (NW342) Yard, Roanoke, Virginia, 1955 (NW13) 13. A Summer Evening With Train No.2, Lithia, 4. Filling a Tender with Water, Shaffers Crossing Yard, Virginia, 1955 (NW362) Roanoke, Virginia, 1955 (NW14) 14. Ghost Train - Freight, Moving West at Norfolk, 5. Y6 Locomotive on the Turntable, Shaffers Crossing Virginia, 1955 (NW419A) Yard, Roanoke, Virginia, 1955, (NW2S) 15. Locomotive 104 Taking Water, Bristol 6. Troy Humphries and a Cracked Window, Waynes­ Roundhouse, Bristol, Virginia, 1955 (NW612) boro Station, Waynesboro, Virginia, 1955 (NW32) 16. R. E. Boother Polishes the Bell, Locomotive 104, 7. Locomotive Drive Wheels, Lubritorium, Bluefield Bristol Roundhouse, Bristol, Virginia, 1955 (NW617) Yard, Bluefield, West Virginia, 1955 (NWS6) 17. J. H. Pope Washes Locomotive 104, Bristol S. Abingdon Branch, Ralph White, ConductOl; and Roundhouse, Bristol, Virginia, 1955 (NW620) Fresh Laundry, Damascus, Virginia 1955 (NW114) IS. Abingdon Branch, Train No. 201 Arrives in 9. Abingdon Branch, Children at Nella, North Alvarado, Virginia, 1955 (NW639) Carolina, Wait for Lollipops, 1955 (NW149) 19. Abingdon Branch, Train No. 202 Passing over 10. Abingdon Branch, Locomotive Taking Water at Bridge S, South of Abingdon, Virginia, 1955, West Jefferson, North Carolina, 1955 (NW152) (NW666) A Class Locomotive and Fast Freight on a Foggy Day, Blue Ridge, Bonsack, Virginia, 1959 ros he made beginning in 1956, the trains became the background to the life lived along the tracks. Whether chatting quietly, pumping gas or going to the drive-in, the train was always there. He also returned to the Abingdon Branch that year to create some of his most memo­ rable photos made during daylight hours. By 1957, steam had been removed from several divisions of the railroad, and Link concen­ trated on recording the splendid J class streamlined passenger engines before they were with­ drawn from service on most runs. By 1958 steam was regularly found only in the western end of the N&W, working in the coal fields of West Virginia. By 1959 there was not much steam left, and Winston Link again concentrated on the engines themselves, so soon to be gone, but this time photographing them in a more expressionistic way, trying to record in sta­ tic images some sense of that incredible surge of flailing, ground shaking energy as these engines, some weighing upwards of one million pounds, thundered past in the dark. wksbill Creek Swimming Hole, luray, Virginia, 1956 o. Winston Link and History ne lesson Winston Link learned from his father was how to tell a good story. His O skills at weaving a tale were transposed into his photographic vision as well. He was able to see an image in his mind that would exist in reality only for the split second it took for the flashbulbs to ignite and record the event on film. He often worked in all but perfect blackness, on occasion spending days to make a single photo-all for the benefit of adding a page or chapter to his story of this steam railroad. While he loved railroads, Link never considered himself to be a "railfan." He didn't travel around the country to visit railroads, nor was he interested in making static photos of as many steam engines as he could find. When he was shown such photos, he dismissed them as "hardware shots," because the locomotives were no longer in their normal envi­ ronment of their life on the tracks or along the line. Like a good story teller, Link was also willing to wait until his audience was ready for the tale. He made little effort to have his railroad work seen, beyond publication of a few photos reproduced in railroad magazines, until the mid-1970s, and it was not until 1983, almost thirty years after he started the project, that these photographs received their first museum exhibition. Since that time they have been widely exhibited and published, and many people who otherwise would have no interest in photographs of railroads have warmly responded to them. The reason for their wide appeal must lie in the breadth of the project's conception, and in the care taken in its execution. These photographs are period pieces, bits of another time and place, but they are also images created with deep respect for the people photographed, the places where they lived and worked, and the splendid machines they operated.
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